It is said that knowledge is a curse, but my knowledge of the dramatic arts was the last thing I ever expected to manifest this truth, out of all my skills. For those of us Kenyans who know how to read the mise-en-scene that is downtown Nairobi, the last few weeks preceding and during French president Emmanuel Macron’s visit have been interesting to say the least. But as a film director and scriptwriter, and I am sad to say I have witnessed a lot of terrible acting – a true mutilation of the theatrical arts upon the streets of the city. Still, I am not sure the practitioners of this travesty were aware of the fact that they were, to the trained eye, in terrible need of dramatic correction. The theatre show they produced was untitled, but I want to call it ‘These Are Not Your Streets – Part1’ and it has been showing on the street, right beside you, if you had the eyes to see.
Let me explain, but let’s make it interesting; What do the following three Kenyans have in common? A tall ‘msee wa kupima weight’ sitting silently and openly in the daytime along the Kenyatta Avenue pavement, his head lowered, all his attention on his phone as people pass him by. A sensibly dressed woman sitting on a tree stump on a Saturday, around lunch hour, chewing through a large roasted maize cob slowly and making no attempt to seek the shade of a nearby tree with a bench underneath. A sweet vendor out late, about eight thirty in the night, leaning silently against a lamppost where the shade hides the upper part of his body and only the sweets in the small bucket hang between his legs in the light. Well, can you guess?
For one, they are all doing things counter-intuitive to the nature of the jobs they are supposed to be doing. The msee wa kupima weight is not calling out to customers or nervously looking out for city council. Why? The woman on the tree stump is pouring sweat, and wiping it with a handkerchief, but not moving into the shade? Not even taking off her backpack? Why? And the sweet vendor, what’s up with that? That’s downright suspicious. At that time no one buys sweets from bus windows. At that time, even if a sweet vendor was leaning there, his little bucket would not be arranged for daytime. If I was directing that scene in a film and I saw that extra, I would yell ‘Cut!’ and send him back to the costume department for a makeover.
I’ll tell you what else they all have in common; they are all plainclothes police. The city has been on mini-lockdown these last few weeks. The oblivious and the privileged have probably not even noticed. But every young man from Eastlands, every street urchin, every hawker, every tout and bodaboda rider, every sex worker will tell you it has been perilous. It has been necessary to be able to read the stranger on the street and decide on the quality of their acting. If you failed to see all the bad acting happening around you, you might have found yourself in some terrible trouble. Ask the two matatu touts I saw at OTC, handcuffed by a plainclothes police officer who was dressed like an underground rapper, bling and torn jeans and all. At what point did they realize that he was not a rapper? When it was too late, evidently. Ask the young man I saw on Wednesday morning sitting near the Tom Mboya statue in downtown Nairobi, two bad actors standing over him, glowering down at his face as one searched his pockets. As I was walking away, I think I heard a slap. At what point, as they walked towards him, did he realise they were not going to a nearby office but that their office was the street, and he was their unfortunate business?
If the last few weeks have taught me anything, it is that everyone needs some knowledge of acting. At least, everyone needs to be able to differentiate the good from the bad. You see, even the real wajango –the ones who grab you and press a pistol in your back demanding your money and phone– even they usually need to ‘act’ a little in order to get close enough before they show their true colours. I have a feeling that that slight bit of theatre education might not only make us safer on our streets, but also that it will change the entertainment industry for the better. I don’t even blame the poor security officers, most of them must have been trying out theatrical roles for the first time ever. However, I request the government to invest a little more in the theatrical arts, if just because it seems to be such a critical skill for national security. God forbid those who want to harm Kenyans learn good acting first, right?
Now as a professional, and in general, I don’t trust bad acting. Even a good friend will sometimes fail the good acting test and often you discover that they were trying to lie or withhold some information in these cases, such as why they need to borrow money. But now comes the twist in the tale… I was careful all through the week to keep a safe distance from any of the bad actors, and lord have mercy, they poured the whole force into this theatre production without auditioning them. There were some terrible examples indeed. I saw a sweet vendor even ignore a mother and child. Sweet vendors love selling to children. I think the biggest factor of the bad acting that stood out was the simple ignorance of the real life of the character whose costume they had chosen to wear.
I didn’t think it through very well though. I should have remembered the other constant I have observed in most bad actors I have directed – they are often unaware that their acting is bad and are utterly convinced that they are the next Lupita. I should have seen it from their point of view. They must have sat and wondered, but how does he not fall for our marvellous acting? So instead of avoiding suspicion, I think I must have aroused it instead. But thankfully, they finally found a decent actor to send my way. On Tuesday morning, as I walked up the hill up State House Road to go to Pawa254, a short bespectacled old man, bald with white hair, was walking slowly up ahead. As I came up the road, he watched me wipe the sweat off my face and smoothly took the opportunity to start a conversation.
‘Kuna joto leo, eh? Kwanza kama uko na njaa ndio unaisikia vizuri.” (It’s hot today, eh? Especially if you are hungry, that’s when you really feel the heat).
I liked how smooth his improvised entry was and I am not a bad actor myself, so I smiled and decided to walk with him and chat a little about life.
‘Nikifika ninapoenda kwanza nitakunywa maji baridi ndio nitafute kachai,” I replied. (When I get to where I’m going, I’ll have to take some cold water and then look for tea).
‘Eh, yaani siku hizi kuna njaa. Ukiona jua imewaka hivi, jua kuna njaa.’ (Eh, these days there’s hunger. When you see the sun blazing like this, there’s hunger).
‘Kweli mzee, watu wamesota sana. Sasa mimi naingia hivi.’ (That’s true, old man. Now, I’m going to turn here).
At this point I was about to turn right into State House Crescent and he was still walking ahead of me. He made his first mistake then, he walked on as if he was still going up State House Road before turning again to follow me. I looked in his face and saw him take the mistake with the grace of a seasoned performer… I smiled. How did the police find such a great actor? I could use such talent for my next film. But now I was curious.
‘Kumbe ulikuwa unakuja huku kama mimi?’ (Oh, so you were coming to this place, like me?)
‘Eeeh, ninataka kununua sigara kwa hiyo duka ya mluhya.’ (Eeeh, I want to buy a cigarette at this kiosk run by the Luhya guy).
Again he was impressive, he had done some homework and knew that there is a small tuck shop by the gate of Pawa254 run by a relaxed old man called Stevo. I smiled. He didn’t seem rehearsed at all – a natural actor, but not on your screen. We walked together, discussing the economy, and the heat. When we got to the gate, I bought him a chapati at the kibanda opposite the shop. I told him I was now going to work and wished him well. And I walked away wondering if I had been going about the situation completely the wrong way. It seems, the better plan is to pretend you can’t see bad acting. Perhaps I simply should not be thinking like a scriptwriter or film director when I am on the street. Perhaps it is I who should be perfecting my acting on the street, playing the complicated role of ‘man-who-does-not-see-bad-acting’ as I walk among the throng. So for the last few days as Macron’s visit has wound up, I have attempted to relax a little more around the bad acting all around town. I must admit though, it has not been easy.
Truthfully, sometimes they did not bother to act at all. Some days – specifically from Thursday through to Saturday – it was like a badly directed dystopian horror film. I guess they were worried that there might be some trouble before and during the busiest dates of the UNEA summit. It was well into the very dystopian territory of ‘physical-presence-as-threat’ and violence hung heavy above every street like rain clouds, waiting for an excuse to pour down. I remember walking up Wabera Street from Mama Ngina Street and a burly gentleman following behind me for a few minutes, his nose barely inches from the back of my neck. Then he suddenly sped on, perhaps to follow other prey. As he passed me, I remember noticing a small can clutched tightly in his hand, his finger on the top part of it. My guess, it was a can of mace. And going by the expression on the man’s face, (alikuwa amebonda like he had safari ants in his underwear) I sense he was disappointed that I hadn’t given him any excuse to use it.
There is a shop window at Kipande house facing the street at which we sometimes stop to dance as we come from Pawa254. Yes we do; what can I say, we are after all artists – and art is a way of life, not a nine-to-five occupation. I was walking ahead of everyone else as we came up to it that evening and then I saw them — a large group of bad actors standing around the spot, at least twelve, pretending to be regular people heading home. Except, they were all drifting too close to your side, bumping you on the shoulder, or in some cases, turning right round to walk by your side and listen to your conversation. It was not a time to be oblivious. I know bad acting, but I also know when people are not acting anymore. There was no more pretence of theatre. We hurried on, past the dancing spot, and on our way. We didn’t dance that day.
We got to our different bus stages without incident, but not before one tall gentleman had suddenly turned to block my friend’s path and take a deep long sniff of his face right in the middle of Moi Avenue, trying to smell him for traces of ganja. Now surely, that is well within the realm of sexual harassment. If I were directing that film, I would have fired that actor immediately for breach of contract. That was not bad acting anymore, just very bad behaviour. It should not be condoned, in any sort of theatre produced for public consumption.
I have been thinking about the whole exercise in a new light, wondering if all over the city, young people like me were also feeling the overbearing weight of the security performance. Feeling restricted to just given spaces, unwelcome in some. Feeling as though they were not really the audience of it, because why would the cast of a play meant for me seem so unfriendly to me? As if I was not the intended audience of the show, but some charlatan roaming about their stage. I thought this was my city too. You can see why I gave their theatre production the title that I did. I have been wondering if better acting on their part would have made a difference to how their show made me feel. It is a long shot, but I have decided to volunteer some free theatrical advice.
To all you first time actors and actresses who debuted in the country’s biggest theatre production this year, congratulations and kudos. Welcome to the entertainment industry and good luck. I have two quick pieces of advice for you after the show. Your performances were affected by two major first-time actor mistakes. The first and most common mistake many of you made was being over-serious. There is no reason why a sweet vendor I have never met would be glaring at me angrily instead of trying to sell me sweets. Some of you, especially the men, already have faces that are ‘angry by default’. For such people, deliberately trying to look serious moves your performance quickly from the genre of drama to the genre of horror. Watch out for that next time.
The next and most common mistake you made, though I am much more lenient about this one, was a very common acting mistake – unintended smiling. I mostly observed this among the actresses – why, there was one who smiled right at me even as she attempted to steal a photo of my face on her phone, perhaps amused by her own undercover actions. Good acting needs one to not let their emotions give them away. I am glad though, I much preferred the smiling ladies to the wasee-wa-kubonda. Which young man doesn’t like a pretty actress giving them some attention? Your next production is bound to be much better if you remember these two tips.
I have also been thinking about the old man who spoke to me on my way to work. Why me? Why did he follow and ‘perform’ for me? Who asked him to? For what purpose? I wonder if he does it for a living, this subtle and not-much-known form of theatre acting. When I told my friend Dulizmo about it, he didn’t hesitate;
‘Huyo ni mbleina. Hiyo ndiyo wera yake. Huyo alijengwa ng’at ama rwabe akutrace mpaka penye unaingia.’ (That’s a spy. That’s his job. He was paid a hundred or two hundred shillings to follow you to your destination.)
I am not surprised to hear that opinion of the old man but I am much more interested in the nature of his work. If he does it regularly, then he is a professional actor operating in the theatre of real life. Old man, if they show you this article, come and look for me at the place you followed me to. We didn’t get the chance to talk about your acting career and I really think your best days are not yet behind you. You have what it takes to be a great film or theatre actor. And you owe me a chapatti.
I reiterate; I don’t blame the huge cast of ‘These Are Not Your Streets – Part1’ entirely for their bad acting. Again, experience with Kenyan TV and theatrical productions has taught me that many times, the reason the acting is bad is because someone tampered with the production and/or rehearsal budget. You can’t blame an actor for something like bad costuming, or an inappropriate prop. Someone with a good eye for theatre is supposed to help them with such things. Perhaps I have discovered a unique opportunity for actors and theatre practitioners like myself. It seems that the security profession is in need of good theatre production skills much more than they might admit. And lord knows, paying work for artists can be hard to come by. I am glad to see that they put up such a concerted effort to perform their show and some of them, such as the mzee who spoke to me, certainly deserve at least a Kalasha award.
And to all other young film and theatre actors all over the country; it turns out, your country needs you!
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To the Brothers and for the Women in Our Lives
We were made husbands before we became men, and it might benefit us a great deal to restore the trust we once had in the guidance given to us by the women in our lives.
Since childhood, my great aunts, my grandmothers and the older women of my clan have referred to me fondly as their husband. “Nga uyu mundu wange,” here is my man, here is my husband, they would always remark in Maragoli whenever we met, never failing to claim this very unusual relationship to me with the biggest village smile on their faces. This, if you can imagine, was one of the few things that didn’t exactly excite my curiosity as a teenage boy. They were women in whom I had unquestioning trust, but what kind of humour! I could not understand where the grace of a woman that old had gone for her to say such a thing. Why? How? It was something too big for my brain to bother with at that time. Now that that boy is a few years older, the message is decoded from the different words of another group of Maragoli women in a closer space and time.
Highrise Estate Kibera is a special place to me. Apart from being my refuge during times when “the situation” seems unbearable in the adult world, where I retreat to the cradling love and care of my aunt and my cousins, it also happens to be a space where I get to experience the village from my interactions with Maragoli laundry ladies. There are a lot of Maragolis here, and most of them live on the other side of the wall in Soweto Kibera — where the real ghetto is. The lives of the people of Kibera, how they make a living, you will find very interesting.
In the early hours of the day, Mbagathi Way’s pedestrian paths might easily be mistaken for the venue of a serious racewalking event as Kibera residents — Nairobi’s labouring class — race past each other as they trek to Industrial Area. At around mid-morning, the journey becomes shorter for some, those opting to make stops midway as others turn back all the way. While it might seem like a foolish thing for them to do, it is a well-informed decision.
Some of those who woke up earlier are on their way back, they need not say anything about where they’re coming from. Neighbourhoods such as South C, Nairobi West, Madaraka Estate and finally Highrise Estate become their checkpoints; you never know, someone might need a parking lot swept, a house cleaned, some laundry done, some dishes fixed. No functioning human being wants to gamble with energy they lack the resources to replenish. So they change direction, reversing from an industrial vision to a domestic one.
Women are the majority among those changing direction, coming back home, not because their muscle mass will not allow them to finish the race early enough, but because it has made them unsuited for the roles industrial work provides for the labouring class.
So, what is the significance of the relationship between Highrise Estate Kibera, Soweto Kibera and this labouring class? Or, what is left of it in this story? It is more or less the same significance my great aunts, my grandmothers and the older women of my clan share with the laundry ladies of Highrise Estate K. in my life.
When the COVID-19 pandemic hit us in early 2020, a lot of women in the employment class just above the labouring class started working from home; a good number of them were sent on compulsory leave without pay. With less cash at their disposal and more time to spend around the house, many of them had to let go their domestic workers. Were they to go back to the ghetto? In Highrise, at my aunt’s and the neighbouring blocks, these women sit outside their sources of employment.
A keen eye will easily lead you to the Maragoli laundry ladies’ base in the area. You will see them seated next to water jerrycans and buckets, stoically bearing the Nairobi heat as they wait for the few opportunities available to them. When the pandemic was at its peak in mid-last year, some of them would go for days without finding a single client, but still, they would not ask for anything from the people they knew. Rather, they hollered out at them like friends and would only insist on us promoting their side-hustles. One such woman is Maggie.
Maggie, a middle-aged woman with a son she recently disclosed to me was in medical school, would shout out to me, “Maragoli!”, caring nothing about whether I was a block away or just on the other side of the road. She would easily convince me and my cousins to buy a few of the avocados she was selling, it mattering not to her whether we had ready cash; we would pay when we had it.
From being her customers, our relationship with Maggie grew over the months to that of neighbours who have no problem commenting about how the other is looking today — not flattery, just raw, honest village banter brought to the city. Recently, Maggie made a personal comment about me; she said, “Sahizi mwili wako unaonekana vizuri, last year ulikuwa unaonekana na wasiwasi sana”, now your body appears alright, you had lots of worries last year. This was weeks after another powerful remark made on the first day of February 2021. Remarks that decoded the message in the words of the women who claim me as their husband back in the village.
“Genye’kana munyo’re zi’gasi mtange’ kuhinzira.” You are supposed to find jobs and start working, functioning, Maggie said to me and my older male cousin late that February afternoon. I had no idea what observations led her to utter such remarks, but they were delivered in a tone so light that we almost laughed. So detached was her position as she made them that it would have been really easy to miss the concern and interest she had for us. And it bugged me, more than the thought of being my grandmothers’ husband bugged me as a young boy. It did not help that both of us had quit our jobs a few months before the pandemic exploded to “focus on our art”. What humour! Why would she say that to me? Now this appealed to my sense of curiosity just as it confounded me. Was she simply asking us to find jobs so that we could in turn provide employment opportunities for her? Was she encouraging us to keep on looking for opportunities and not give up? Or was it a witty rebuke to Maragoli youth walking around the estate in the peak of the afternoon, pretending to be in the same position as her, lacking opportunity?
I remain unable to place these remarks. Nevertheless, if Maggie Maragoli sees me essentially as a Maragoli man then, truly, I am her husband. The women of my clan must have been teasing me with the responsibility that comes with being a man in the community. That as a Maragoli man you are answerable to more than one woman in your life; your functioning does not just benefit the woman you raise a family with, it is essential for the whole community’s prosperity. It might also be that we fit the image of the man Maggie would like the daughters of the community, her daughters, to have, and that she is playing her role in moulding these functional partners. Whatever the meaning of the remarks, they remain a response given in an attempt to show direction.
Only one message is clear.
A deep concern seems to be building up among a group of women from the ghetto. Not about themselves, not about their children, not about anyone really close to them. Just their husbands. A concern that manifests itself as a wound, an old wound, a very visible wound which regenerates into the painful thing it was many years ago when it was first inflicted by our fathers. We, their husbands, are that wound.
In the ghetto, Kibera at least, based on the selective principle industries apply in recruiting workers of the labouring class and the number of women in domestic work, there are more men in meaningful employment than there are women. Is it, then, beyond us to say that when the vision for women is reversed from industrial roles to domestic roles in the labouring classes of capitalist systems — worse in a corrupt country — the people become poorer?
Oftentimes, I find myself promising to give something back to these women in the future. I want to make them happy, these distant but very present wives of mine, these very close but physically distant wives of mine, for the priceless education they have given and continue to give me. But time is limited, and it would break so much to go beyond oneself, I am just one among many men of the community. And what makes me think that I carry the key to their happiness!
The surest thing I could give is my ear.
I get it, I think, I feel as though I have gained understanding. I have to function.
We were made husbands before we became men, and it might benefit us a great deal to restore the trust we once had in the guidance given to us by the women in our lives. Our mathes, our sisters, our senjes, our gukhus. These women whose presence, physically, emotionally and in memory, has never failed to check us at every stage of our growth as human beings. We should trust the women in our lives to give us direction, not answers, on what proper manhood looks like.
Life on the COVID-19 Frontline: The Use and Abuse of Kenyan Nurses
Nancy’s cohort was not trained in the care of COVID-19 patients. They were dropped in at the deep end – the deep waters in which they outnumbered their colleagues of long standing who have permanent and pensionable contracts.
As the novel coronavirus traversed central China and made its way across the seas to wreak havoc in Europe and the Americas, there were those in Kenya who wished the calamity would also befall us. My cousin Lyn, who works for a medical charity, was appalled to hear an official of the Ministry of Health express the hope that SARS-CoV-2 would arrive on Kenyan shores “tupewe pesa” — so that we can be given money. That was in February 2020; less than a month later, that maleficent official’s prayers had been answered and the funds soon followed in COVID-19’s wake, to be swiftly embezzled by Ministry of Health officials in cahoots with the directors of hastily incorporated tenderpreneurial companies. It can be safely assumed that the avaricious official was well positioned to be a prime beneficiary of the windfall.
It seems a long time ago now, when a wave of indignation swept through the nation as the news broke that funds and equipment meant to help Kenyans weather the COVID-19 storm had been stolen. Here in the Nyandarua County countryside, hawkers of hastily tailored cloth masks selling at a hundred shillings apiece soon exchanged them for the now ubiquitous sky-blue face masks once they became more readily available on the market, selling the prophylactics at ten shillings each.
The initial anxiety brought on by news of the sudden death of a middle-aged woman in May from COVID-19 two dozen kilometres further down the road from us gradually abated as it became evident that her death did not augur a hecatomb. Little by little, as the year wore on, life returned to a semblance of normal; the masks slipped off, the soap and water dispensers in front of the shops stood unused, market days returned and the police retreated to their usual occupation of extorting matatus and boda bodas. Pandemic fatigue had set in.
Over in Laikipia West, in Marmanet, my friends Patrick and Dorothy had been fanatical about sanitising ever since the news broke that the pandemic had reached Kenya. You were met with soap, water and sanitiser at the gate, a good hundred yards from their house, and the exchange of news about the weather and the state of the crops took place on the veranda under the shade of the creeping jasmine and honeysuckle.
Then early this January Dorothy called to tell me that Patrick had been hospitalised with acute pneumonia and I feared the worst. Patrick wouldn’t go to hospital when he first felt unwell and by the time it became obvious that he needed urgent medical attention, he couldn’t walk. He’s a very big man, overweight, and so Dorothy put a mattress down in the back of their pick-up truck, laid Patrick on it with the help of neighbours and drove through the night to a private hospital 30 kilometres away. Updates from the hospital were not reassuring; Patrick had contracted COVID-19 and his lungs were in pretty bad shape so he was put on oxygen. Tests also found his heart deficient and his liver malfunctioning. Miraculously, ten days later, Patrick was discharged from hospital with strict instructions to drop weight.
I was relieved to hear the good news and selfishly thankful that Patrick and Dorothy are an hour away from me; to my knowledge, no neighbour of mine had yet contracted the deadly disease. Then in mid-March my friend Isaac fell ill. Aches and pains all over the body, shortness of breath, dry cough, raging headache, no appetite. All COVID-19 symptoms. Isaac is an ordained pastor and missionary, bringing help and succor to the least among us, his days filled with meeting people and finding solutions. A week of treatment did not improve his condition and Isaac was hospitalised at a private clinic in Nyahururu. I feared for him and I feared for all of us who have been cozily ensconced in our personal cocoons that have given us a false sense of security that we shall be spared the COVID-19 scourge.
The small private hospital where Isaac was admitted is not testing for COVID-19. Patients also have to go to a private facility in Nyahururu town for chest x-rays. But the level of care is beyond reproach and the medical staff attentive. The young woman doctor treating Isaac seemed experienced beyond her years, explaining Isaac’s prognostic profile with clarity and taking critical decisions with authority, all the while imparting a sense of hope that Isaac would make a full recovery.
Hearing that Isaac had been taken ill and hospitalised, a young woman who had been a beneficiary of Isaac’s sustained efforts to uplift the lives of the poor of Ngobit and give their children a fighting chance by supporting their education, came running to his bedside. Nancy* had successfully completed her nursing course and was now stationed at the Nyahururu County Referral Hospital, a stone’s throw away from where Isaac was laying on a hospital bed fighting for every breath. She arranged for Isaac to be tested for COVID-19 at the government facility and insisted on paying for the cost herself.
That Nancy offered to pay for the cost of the test is testament to the regard with which she holds Isaac. Nancy has not been paid since early December 2020 when she received five months’ salary arrears. She is one of a cohort of nurses that was hired by the Ministry of Health in June 2020 in the face of the pressures brought on the medical sector by the COVID-19 pandemic. A Zoom interview was quickly followed by a job offer and Nancy arrived at the Nyahururu County Referral Hospital in early July to find that the Kenya Medical Training School lecture rooms had been converted into COVID-19 wards. But they were soon closed down and COVID-19 cases returned to the general wards once the KMTC students resumed classes in January.
Nancy tells me that there is no isolation ward at Nyahururu County Referral Hospital; surgical and medical cases are housed under one roof in the male ward and the same goes for the female ward, where female patients with gynaecological issues are also admitted. Patients with COVID-19 are “put in beds in a corner of the ward”, as Nancy heartbreakingly put it. There they wait until a doctor with Personal Protective Equipment can attend to them, administering the care that the nurses daren’t, for fear of contracting the virus. There is not enough PPE for the nursing staff; the county surveillance officer doles them out as parsimoniously as he does the COVID-19 test which is reserved for patients displaying symptoms and those with whom they have been in close contact. Nancy says that their only protection is “prayers, masks and sanitising”. Nancy says that “we are not doing things the right way but it is the management that is failing us.”
There is no critical care unit at Nyahururu County Referral Hospital. In fact, there is no critical care unit in the whole of Laikipia County. Not in the public hospitals. Not if CCU is understood to mean the availability of life support equipment and medication, and highly trained physicians, nurses and respiratory therapists specialised in caring for critically ill patients.
At the Nanyuki Teaching and Referral Hospital — the only other major public hospital in Laikipia County — there is a building whose façade bears the name Critical Care Unit but that is all the building is, a façade. Speaking at the facility on the 23rd of June 2020, Laikipia Governor Ndiritu Mureithi announced to the press that “we are preparing a 6-bed ICU and a 12-bed HDU”, adding that “the most important issue is ventilators, five of which were already at the Nanyuki hospital while another five were foreseen for the Nyahururu facility. Well, Nancy says that between June and December 2020, the only ventilators in use in the temporary isolation wards set up at the Nyahururu County Referral Hospital had been borrowed — together with the beds — from other public medical facilities in Laikipia County. The beds and ventilators were to be returned whence they came when the isolation wards were shut down in January.
The January to March 2021 issue of the Nanyuki Teaching and Referral Hospital Quarterly publication reports that “we now have also completed at 17-bed critical care unit with 6 beds reserved for intensive care unit (ICU) and now have just obtained an anaesthesiologist to get the service set up and running. A nurse has been sponsored by the hospital to specialise in critical care, and more will continue to be developed in this manner.” It is unclear which “ultramodern intensive care unit” was “unveiled” by Governor Muriithi in June 2020.
Nancy tells me that, because the Nanyuki hospital does not have the facilities, critical COVID-19 cases at the Nyahururu hospital are referred to Nakuru Level 6 Hospital in Nakuru County. If there is no room there, patients are pointed in the direction of the Kenyatta University Teaching, Referral and Research Hospital. But relatives must first deposit KSh200,000 with KUTRRH before the patient can be admitted there. The elderly mother of a colleague of Nancy’s who contracted COVID-19 last November could find no help beyond being put on oxygen at the Nanyuki hospital and so the family raised money and had her treated at a private facility in Thika. She survived.
Nancy’s cohort was not trained in the care of COVID-19 patients. They were dropped in at the deep end – the deep waters in which they outnumbered their colleagues of long standing who have permanent and pensionable contracts. Nancy and her colleagues were offered 3-year contracts with a basic salary and no benefits take it or leave it. They took it.
Last December Nancy’s cohort was split in two and she found herself in the Universal Healthcare group (UHC), falling directly under the Ministry of Health. She has not been paid since, while her colleagues who fall under the responsibility of the Laikipia County Government have been receiving their salaries every 27th day of the month like clockwork. Nancy says she doesn’t know the criteria that was used to split the group. She says that she and her UHC colleagues often call on the understanding of their colleagues who are on the county government payroll for financial help. Which is why her offering to pay for Isaac’s COVID-19 test is so significant.
Now it seems that the Ministry of Health has lost their paperwork. Their files have “disappeared” and so they cannot be paid. Nancy and her UHC group have been asked to resubmit all their diplomas, certificates and all other supporting documents. Each document must be certified by a magistrate as conforming to the original. The magistrate at Nanyuki charged 50 shillings the copy, a small enough sum until you take into account the number of documents that must be submitted and the number of nurses submitting them. And the fact that none of them have been paid since the 4th of December 2020. The county government took possession of the resubmitted documentation for onward transmission to Afya House but could not tell Nancy and her colleagues when they might expect their salary arrears to be paid.
Thankfully, Isaac tested negative for COVID-19. He had suffered a particularly nasty bout of pneumonia. He is out of the woods and back home where he haltingly (talking still makes him breathless) admitted to his wife that in the dark hours of a particularly difficult and frightening night he had yielded to his God, leaving his family in the care of the Almighty.
* Name has been changed.
The Paradox of Choice: Just Another Family Tale
I am thinking about the miracle of being born, a one in 400 trillion chance. Even without this statistic it is hard for me to consider that my birth might have no meaning beyond the self-constructed value I give to my experiences of life through you; the fact that your death was not the end of your life, that you continue to live through me.
Say something to me
What does one who grants you the kindness of a living body
want from you in return but an understanding of what it means to feel alive?
~ Forough Farrokhzad
I was told that I was born a healthy baby at Consolata Hospital in Nyeri. My father, who is of the Kuria people of southwestern Kenya, was working on a project in central Kenya as an agricultural engineer. I was named Boke after his mother. In Kuria tradition girls were not as celebrated as boys, but my father looked at me as keenly, with that same sense of indebtedness, as he would at his own mother.
We thank our parents for the gift of life. Our parents expect us to thank them. Each and every day you should demonstrate gratitude for this special gift; no matter your experiences, you owe it to the givers of life – for better and for worse.
We lived in Nyeri for two years. And then I was taken to my maternal grandmother in Russia, where I spent two, three years with her in Krasnodarsky krai in that southern part of Russia that borders Crimea to the west and Georgia to the south. Krasnodarsky krai is in the Caucasus, a popular getaway because of the warmer climate, the ski resorts and the seaside. But I didn’t get to visit any of these places then; only later in my life did I spend time on the Black Sea while living there as a teenager.
While everything before this time remains with the custodians of the stories, my first memory is that of abandonment, my mother taking me away from Nyeri at only two and leaving me with my grandmother. Her soft long fingers slip away from mine and I realise that I am not going with her. I break into a cry but it is too late; the tram is moving away and we are separated.
There is something about knowing that you have no choice that leaves more room for acceptance. How that acceptance, or rebellion, manifests itself is a different story. Days went by and I settled into a routine in my grandmother’s home. In the winter we would light firewood to keep warm and in the summer we would eat strawberries and crimson cherries, and pickle cucumbers for the coming winter. I had no real sense of time other than day, night and seasons, and I do not remember thinking as much about being left behind as I did about what would be happening in my day to day life – fighting with my twin boy cousins, their mother bringing us hot dog treats overflowing with tomato sauce and mustard, taking a bath in a bucket, picking walnuts (fallen from a tree I still miss as my connection to the roots it held), running to the river, walking to fetch water from a nearby well, my tattooed uncle getting me out of the cupboard where I hid when I was upset, his golden teeth shimmering back at me. “Katyusha”, dearest Katya, he’d say.
Every so long, babushka would announce the arrival of a letter and she’d read out words that came from the heart of my “real” family in Kenya: my father, mother, older sister and newborn brother. But of my family, I remembered only my mother, so potent was that first memory living a life of its own somewhere at the bottom of my soul’s well: an unprocessed flashback of her hand slipping away from mine.
Whatever else, I cannot say it was a dull childhood.
This taught me that I did not find places but places found me.
My life was stable. Days, seasons, letters. Until one day, the strangest looking man walked into my grandmother’s house. He was black. I could not hide the shock on my face. Living in a neighbourhood where I only saw white people, I fell prey to the thought that all people were white. Ironically, I did not acknowledge my own difference from those around me – the honey-coloured skin, brown almond-shaped eyes and unruly hair. “Your papa has come for you,” babushka said. The four-year-old me could not fathom how this alien looking person could be my father and want to take me away. Deeper than that, though unable to name it, I felt a sense of betrayal from my grandmother, who seemed so ready to give me away. I hid behind her and refused to approach this stranger, who interestingly enough, spoke “our” language so fluently. In an effort to persuade me to approach him, she tried to bribe me with my favourite treats, “You can have as many pickled cucumbers as you like and more sugar in your porridge.” When that did not work, babushka said that if I left with this man, I would meet my mother who was waiting for me on the other end, where it was always summer. That triggered something in me and I felt the need to touch my mother’s hand again and mend the separation. I planted that seed in my mind and it held me together for what would turn out to be a longer trip than I had imagined.
This taught me that my life was choosing me rather than me choosing my life.
The journey back to the land of my birth started with a long train ride. The longest trip I remember ever taking was from my grandmother’s home to the Christmas show children attended at a theatre in the city centre and this took no more than 30 minutes. The one day on which we dressed up. After the show, the Russian version of Santa, who wore blue (not red) and whom we called Ded Moroz, Father Frost, would give us a bag. In it was an orange (a special fruit in that part of the world at that time) and chocolates. I reflected on this memory on the train, my only source of comparison as I embarked on another long journey that filled me with anticipation. The ride from Krasnodar to Moscow, which today takes 18 hours on the fastest route, was a very long ride indeed.
When we reached Moscow, we spent the night at an old couple’s home. Merry making over dinner revealed an awkwardly jovial side to my father. He was laughing and speaking loudly. I noticed white teeth as a distinct feature for the first time in my life; they sparkle in contrast to his dark complexion. And even though he spoke Russian, my language, all I could do was stare as I tried to fathom that this was my father and that suddenly, my life had completely changed.
I am in a strange place, with strange people, and when I wake up the next morning, the first sound will not be that of my grandmother at the stove yelling that we should all get up and be useful, bellowing a-ya-yai ya-yai! if we didn’t move.
A sofa bed is pulled out for my father and I. We sleep side by side in this open space. He quickly falls asleep as I cuddle myself on the other side thinking about what’s to come. Will I really meet my mother? Will I be safe? When will we arrive? Is this a dream I am about to wake up from?… My thoughts are abruptly interrupted as my father, having made too much merry for our own good, vomits all over me. It’s putrid, lukewarm and slimy but he continues to sleep, unperturbed. I get up and walk down the corridor not knowing what to do. The old lady hears the movement and finds me in the corridor. She cleans me up and takes me to sleep somewhere else. I do not recall if she woke my dad up or what happened next but it took me 25 years to get rid of that pungent smell that it seemed would follow me around for the rest of my life, until someone told me that I had a choice, and I listened.
This taught me that sometimes the world expects too much of humanity.
There was nothing memorable about this trip, and certainly not the nausea I experienced from flying. Perhaps this should have served as a premonition. I most vividly recall my first impression: arriving at the Jomo Kenyatta International Airport in Nairobi made this long uncomfortable journey seem like it had been the road to heaven. First it was the black and white striped animals by the roadside as we left the airport; magical creatures. I thought only dogs and cats existed in this world. Then the sun hits you, it is all green and lush, and further out into the busier roads are trees shaped like umbrellas and huge birds with prominent beaks comfortably perched on the slender branches, making sounds that could almost pass for frogs croaking. But mainly it was the sun, it felt so close that I could hold a portion of it in my hand, and I instantly fell in love with this country, forgetting for a moment that my main goal was to mend my separation. We ride in the car with the windows open, the warm breeze kissing my face.
And there she is. Mother. The glorious delicate being I wanted to attach myself back to. I notice that the sense of familiarity embedded in my mind has faded and I have to find her again. While I mend this separation, a new one is born, as I try to get further away from the scent spreading distance between my father and I.
Years went by and in them father remained a source of … interruption … between my mother’s wholeness and I, even if the gift he gave us – Kenya – was something none of us could afford to take for granted.
This taught me that one separation leads to another; like a chain necklace.
I write this on a warm morning in March. I wake up to the beautiful Kenyan landscape luring me out of bed. I stare out of the window; the crescent moon presents itself just slightly behind a tall old tree on the left, and on the bottom right the sun is slowly awakening and beginning to brim its rays subtly into my day. I watch them both and I am thinking of you. I am thinking how much you would have savoured this morning. I am thinking that it has been two decades since you left. I am thinking I was thirteen. I am looking at my thirteen-year-old daughter and I am seeing a child who needs her mother next to her, and I am feeling empathy for my younger self. I am thinking how father left nine months before you did and I am realising that we were both delusional in our thinking – that the interruption was gone and life would give us a second chance to truly mend that separation. I am thinking, you did not deserve that cancer, yet it was your lot. The lot that your genes gave you. I am thinking I had to grow up to understand that inheritance was not a choice. I am thinking of the time the doctor told me that if I test positive for the gene, it is not a matter of “if” but a matter of “when”. Boom!!! I am looking at your grandchild, this our daughter, who has her mother and I wonder – how will I make her understand that I can save her from a rainy day with shelter, I can save her from hunger by the work of my hands, but I cannot save her from our inheritance. I cannot promise to stay, I cannot, like a sculptor, reshape her genes.
This taught me that this life had to be enough.
What I really have been wanting to say is, I am sorry. Sorry I never learnt to love you like a daughter should love her father. Then I passed that on to my daughter by raising her alone. I am sorry you could not give me a safe space to grow in love. Or maybe you could? You know, there were always the remnants of that scent and your small dark eyes like darts, staring at me accusingly. I reflect on what I did not understand about you then. You were happy but you did not have happiness. That is why your eyes seemed hollow. Why it was hard to find a photograph of you smiling or laughing. Why merry making was your way of leaving yourself but the failure to do so was your source of anger.
The end was not only physical pain but the intangible pain of knowing you messed us all up, that your PhD ultimately did not get to live up to the glory it aspired to. Still, I thank you for this country. What more can you really give someone than a whole country! So that when you both left, I still found a nurturer in its landscapes. The warm breeze kissing my face, the sun holding me at its centre, the croaking birds reminding me that I am never alone.
This taught me there is more than one way to be left; many forms of abandonment.
I am thinking about the miracle of being born, a one in 400 trillion chance. Even without this statistic it is hard for me to consider that my birth might have no meaning beyond the self-constructed value I give to my experiences of life through you; the fact that your death was not the end of your life, that you continue to live through me. That I perpetuate your education, that I display mama’s sensibilities. That which I inherit and that which I pass on. The miracle itself.
Everybody wants somebody to be their own piece of clay
~ Marvin Gaye
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